Martial Law

Now, I have been been a fan of Cynthia Rothrock, and I have always avoided her movies during my youth. But within the recent years, I have started to watch her movies, if I have had a chance to sit down and do so. Not that I am actively seeking out her movies, nor am I a fan of hers in any way, but since I haven't seen her movies before, I do so whenever I get a chance.

And thus I happened to come across the 1990 crime action movie "Martial Law" here in 2022. Sure, I knew about the movie by its title, but I had actually never seen it before now in 2022. Were I impressed? No, not really. Sure, "Martial Law" was a watchable enough movie, but it was a rather generic martial arts movie, so writer Richard Brandes and director Steve Cohen weren't exactly delivering gold here.

The acting in the movie was adequate, with the likes of Chad McQueen, Cynthia Rothrock, David Carradine and others on the cast list. While I still am not a converted fan of Cynthia Rothrock, I will say that she does know how to fight.

"Martial Law" had adequate martial arts and fighting sequences to it, which made the movie all the more bearable to watch, truth be told.

Having seen "Martial Law" now, for the first time, I am not particularly much a fan of the movie, and I doubt that I will ever return to watch it a second time.

My rating of "Martial Law" lands on a bland five out of ten stars.

Despite her being all over the cover, she's barely in this. Instead you get sub-Joe Piscapo look a like Chad McQueen in a dorky jacket stumbling through fight scenes and looking like a goof. Nothing to see here.

Cynthia Rothrock kicked off her movie career in Hong Kong, but was eventually lured back to the U.S. to star in numerous martial arts films, very few of which come close to the quality of her Eastern output. Martial Law, one of her earlier American efforts, is a forgettable action flick with Ms. Rothrock relegated to supporting character, vice cop Billie Blake, love interest of Sean Thompson (Chad McQueen), who goes undercover to bring down the bad guys responsible for the death of his wayward younger brother Michael (Andy McCutcheon).

With such a clichéd plot and with Cindy playing second fiddle to McQueen, the film doesn't offer much for fans of the lovely lethal lady to get excited about. There are sporadic fight scenes that fail to impress thanks to uninspired direction from Steve Cohen and weak choreography, and the casting of David Carradine as crime-lord Dalton Rhodes leads to a rather disappointing final showdown, the actor (54 at time of shooting) unable to pull off any impressive moves. The most memorable performance is by Philip Tan as Rhodes' Cockney right-hand man Wu Han - he's a blast. Also look out for the great Bennie 'The Jet' Urquidez as a nameless henchman.

Here's a martial art film I say is a real keeper. "Martial Law" is fine, fast, and running and it's full of great action. Chad McQueen(Steve's son) plays a cop who teams with Cynthia Rothrock who also can kick some serious butt. I like it when she does that over the head kick that's really stealthy. David Carradine plays the sinister crime boss, Dalton Rhodes. It was amazing when he does that lethal palm strike to the heart of that huge guy. When done right, it can kill. Unfortunately, Sean's brother Micheal(Andy McCutcheon) fell the powerful impact of it when he was working for Rhodes. I liked the scene where Sean(McQueen) and Billie(Rothrock) took on the thugs, and Billie does the split and did some repeated groin punches on one the thugs. That's enough to make Johnny Cage jealous! I also like the confrontation fight between Sean and Dalton. It was great to see Dalton get a taste of his own blow. That blow is only good for defense, not for fun among friends. This movie is a lot of fun, and it's a keeper in my book! 3 out of 5 stars!

I've yet to watch a movie starring Cynthia Rothrock that wasn't rife with peculiarities, and at that, usually all the same ones. Her films are generally blunt and over the top in most significant aspects, including writing and acting if not also direction, and often ham-handed and inauthentic on top. She's not uncommonly no more than second fiddle in her own starring vehicles - and yet for all that, the fight choreography is broadly well done. It's an odd mixture at all times, and 'Martial law' doesn't try hard to convince us that it's any different. From excessive sound cues (such "whooshes" as fists or feet flying through the air or hitting their marks), to massively done-up and visually distinct hair, makeup, or costume design; from small, gratuitous flourishes, to an enjoyable but curious score from Elliot Solomon that oscillates between guitar fireworks, fanfare that wouldn't sound out of place opening 'Saturday Night Live,' and synth-driven ambient pieces - there's a lot going on here. Most prominent actor Chad McQueen, playing actual protagonist Thompson, really does look like a Joe Piscopo impersonator; a scene set in a nightclub features a very 80s hair metal band and song (accordingly Tempest, performing "Sauza" - I won't lie, I liked it); and there's a brusqueness to the execution of some action sequences that somewhat defies suspension of disbelief.

Through it all, I'm surprised to find myself thinking that 'Martial law' is, in some ways, better than I anticipated. Maybe it's director Steve Cohen's guidance of the cast that we have to thank, but the acting feels unexpectedly restrained and sober compared to other Rothrock films. For all the flair here and there, including sequencing and otherwise editing that echoes that cheeky tenor, it almost seems like the production is played straight, declining the greater bombast we're used to seeing from her and those with whom she shares the screen. David Carradine, Philip Tan, John Fujioka - and yes, even Rothrock - all show glimmers of real nuance in their acting that's a far cry from the tomfoolery we saw in, say, 'Honor and glory,' or 'Tiger claws.' Even when performances are overdone (for better or worse I'm looking at you, Vincent Craig Dupree), it's unmistakably intentional, and though he has a small part, it's always a minor joy to see Professor Toru Tanaka. The cinematography and sound design are crisp and clear, the orchestration of every shot and scene is suitable - honestly, in a lot of ways, 'Martial laws seems pretty well made.

The biggest question,though, is of course the writing. Richard Brandes doesn't have a lot of credits to his name in that capacity, with one of the few others being this picture's sequel. There's no substantial depth to most characters, and they mostly fill familiar action-thriller crime flick archetypes. There's occasional cleverness to the dialogue, but so much of it just feels unremarkable and downright uninteresting. The scene writing is a little stronger, but varies wildly in accordance with the needs of the story - some bits seem well thought out and work to engage our attention, advance the plot, or enrich the experience as a whole, while other instances just feel overblown or unnecessary. And as to that plot: it's complete, coherent, and cohesive. It's also oafishly slow and meandering as it switches gears at intervals from criminal enterprise, to criminal investigation, to family drama, and back again, with martial arts sprinkled throughout. For that matter: apart from some key scenes, the cinema-ready disciplines are weirdly deemphasized in the screenplay, letting the other elements take precedence to the disadvantage of 'Martial law' - while antagonist Rhoades' (Carradine) signature finishing move is overused until it fails to provide invigoration. The result of it all is a title that's hard to get excited about, not least of all as the core plot doesn't seem to go much of anywhere until the last third of the runtime, and even then it comes and goes with minimal impact.

The feature has a leg up on some of its brethren when it comes to technical craft, so I suppose that's worth something. But even if we generously put aside the major dearth of screen time for top-billed Rothrock, which still blows my mind, there's still so little about the movie that inspires, or gets the blood flowing. As the length lackadaisically saunters to the climax - and a final fight that is admittedly quite well done - one can't help but ask what it was all for. Everyone involved does their part, more or less - so what? I'd much sooner watch a romp buzzing with ridiculous, exaggerated ham-handedness and questionable construction than a solidly built snooze. Unfortunately, by and large, that's just what we get in 'Martial law,' and I wonder if I'm not being too kind in my assessment as it stands.

What's kind of sad is that it really didn't have to be this way. More than anything else, all the feature needed was more martial arts - and, once more to highlight, more Rothrock - to improve upon the actual finished product. Oh well. Cautiously recommendable for martial arts fanatics and utmost fans of the cast, and halfheartedly enjoyable for those receptive to all the wide variety that cinema has to offer. There's just no need to seek this out, though, and actively keep your expectations in check if you decide to sit for it nonetheless.